KeyboardCourse 33620 Eng

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B A S I C M U S I C C O U R S E

KEYBOARD COURSE



B A S I C M U S I C C O U R S E

KEYBOARD COURSE









Music has always been an important part of

worship for Latter-day Saints. It inspires and

strengthens, brings beauty and unity, and is a

unique way toexpress feelingsabout the gospel.

Many Church members want to learn how

to read music, conduct hymns, and play a key-

board instrument. The purpose of the Basic Music Course is to help you develop these

skills. As you do, you will enrich your life and

be able to serve in new ways.

The Basic Music Course has two parts: the

Conducting Course and the Keyboard Course.

You do not need previous musical training to

begin these courses. As you progress through

them, you will learn music skills in a carefully

planned order.

You should begin with the Conducting

Course. After completing it, you will know the

basics of rhythm and note reading; you will

also know how to use the Church hymnbook

and conduct most hymns. After completing

the Keyboard Course, you will know how to

read music and play some simple hymns on

a keyboard instrument.

The Basic Music Course can be used in

branches, wards, stakes, and homes to teach

all interested members and nonmembers No

Conducting Course Kit

Conducting Course manual

Conducting Course audiocassette

(The videocassette Music Training [53042]

includes the segment “How to Conduct a

Hymn,” which correlates with the Conducting

Course but is not part of it.)

Keyboard Course Kit

Keyboard Course manual

Keyboard Course audiocassette

Hymns Made Easy (31249; also available

separately)

Cardboard keyboard

Music note cards

Carrying sack

Electronic keyboard (80509; has four octaves

of full-sized keys and is suitable for playing all

of the hymns)

To order these materials, contact

Distribution Services as outlined below:

Telephone: 240-3800 (Salt Lake City)1-800-537-5971 (U.S. and Canada)

1-801-240-1126 (other countries)

Mail: Distribution Services

INTRODUCTION TOTHE BASIC MUSIC COURSE



PURPOSESThe Keyboard Course will help train you to

be a keyboard accompanist for hymn singing.

One of your goals in this course is to learn to

play the hymns as they are arranged in Hymns

Made Easy. As you reach this goal, you will be

prepared to serve as an accompanist in your ward or branch.

A second purpose of the Keyboard Course

is to train you to teach others how to play

a keyboard instrument. After completing the

course, you will be qualified to teach it to

others. The “Guidelines for Teachers” section

in the back of this manual includes materialsto help you teach keyboard classes. Even

though you may not feel confident with your

new keyboard skills, the Church needs you

to help others learn them. Teaching others will

improve your own skills and give you more

confidence.

No previous musical training is necessary

for you to begin this course. However, it would

be helpful for you to complete the Conducting

Course first.

COMPONENTSThe Keyboard Course Kit includes several

resources to help you learn to play hymns:

The audiocassette tape provides recorded

examples of exercises in this manual. The

boxed numbers in the manual correspond to

numbered examples on the tape.Listen to each

example and follow the music in the book as

you listen. Then try to perform each skill as it

is done on the tape. You might try performing

with the tape. If the recorded example is too

fast, practice slowly without the tape, then

gradually go faster until you can perform with

the tape. Hymns Made Easy is a collection of sixty

simplified hymns. These can be used to

accompany singing at home and at church.

The cardboard keyboard will help you study

and practice when a keyboard instrument is

not available. Practice every day or as often as

possible with a keyboard. Whenever you can,use a real keyboard instrument.

The music note cards will help you learn to

read music notes It is important that you learn

The Keyboard Course



Following are some suggestions that will

help you complete this course successfully.

1. Follow the course in order. This course

is arranged to help you learn concepts in

a logical progression. Even if you already

understand a concept, review it and do

the practice assignments.

2. Try to master each concept and skill

before moving ahead. Practice each skill

until you feel comfortable with it. If a

skill is too hard for you, do your best and

move on. It is better to finish the course

than to quit because you have difficulty

with one or two skills. With patience and

practice, you will eventually master allthe skills.

3. Follow all the practice instructions. This

will help you learn the skills more quickly.

4. Use the resources provided. The audio-

cassette, the cardboard keyboard, the music

note cards, Hymns Made Easy, and the

Handy Helps (a foldout attached to the back

cover of this manual) are all important

resources for succeeding in this course.

5. Use the Church’s standard hymnbook.

Get to know the hymnbook well and keep a

copy with you whenever you work on this

course. This manual will sometimes instruct

you to refer to the hymnbook.

6. Use the Glossary of Musical Terms

(pp. 142–53 in this manual) to learn more

about the words printed in bold type in the

manual. Each of these words appears inbold type the first time it is used.

7. Use your skills as you learn them.

The Lord will bless you as you use your

talents to worship him and serve others.

Advice to Students



Learning to play a keyboard instrument is

sometimes difficult and frustrating. It may take

months and even years before you are profi-

cient at it. These skills will come with time and

practice, so persist and be patient with yourself.

This course is designed to help you learn step

by step. Take time to get comfortable with one

step before moving on to the next. Don’t push yourself too fast.

Set goals for yourself and work hard to

accomplish them. When you complete this

course, continue to study and practice.Practice

the hymns in Hymns Made Easy until you can

play most of them; then progress into Hymns:

Simplified Accompaniments and the standardhymnbook. Pray sincerely, and the Lord will

enlarge your talent and increase your ability to

learn. Blessings will come to you as you use

your talents to serve and worship the Lord.

The Lord has promised,

“For my soul delighteth in the song of

the heart; yea, the song of the righteous is a

prayer unto me, and it shall be answered with

a blessing upon their heads” (D&C 25:12).

Some hymns are easier to play than others.

Playing even the simplest arrangements of the

hymns at church and at home will allow you

to serve.

Before you begin the Keyboard Course,take a moment to imagine that you’ve already

completed it. Imagine yourself as a successful

pianist or organist, having learned all the con-

cepts and skills needed to make you a good

musician. Picture yourself playing the piano or

organ while the congregation sings a hymn.

You are confident and sure of yourself as you

play. Your playing is smooth and easy for thesingers to follow. The congregation feels the

spirit of the hymn, and there is a feeling of

worship in the room.

This image of yourself can become reality

as you work and pray to achieve it. You will

find joy through sharing your new talents at

church and at home.

A Note of Encouragement



SECTION 1

Concepts and Skills You Will

Learn in Section 1

1. How to prepare to play a keyboard

instrument

2. How to read the rhythm of music notes

3. How to name the keys on the keyboard



Nine-pointChecklist1. As you sit at the piano and rest your fingers

on the keyboard, move the bench back far

enough so your elbows are slightly bent.

2. Sit in the center of the bench, directly in

front of the center of the keyboard.

3. Sit toward the front edge of the bench with

your back straight and your weight forward.

4. Rest your feet on the floor.

5. Sit comfortably, maintaining good posture.

6. Make sure there is good light for you to seethe music and the keyboard.

GETTING READY TO PLAY THE PIA



7. Stand. Drop your hands to your sides and

relax them. Notice their natural curve, as if

they were holding a ball. As you sit again,

place your fingers on the keyboard, keepingthe same natural curve.

8. Position your hands above the keyboard,

letting your fingers touch near the center

of the large area on the white keys. Hold

yourpalms above the keyboard, but don’t

rest them on the keys or on the wood

below the keys.

9. Strike the key with the pad of your finger

just below the fingertip. Keep each finger

curved, lifting it from the knuckle on the

back of your hand. As you strike the key,

keep your finger joints bent.



To help you place the correct finger on each key, the fingers are given

numbers as shown below. Finger numbers are written above or below the

notes on the page.

Place your hand above any group of five keys

one key. Practice the finger numbers by playing

finger as indicated. The notes with stems going

Notes with stems going down are for the left han

Playing by Finger Numbers

1

2

3

4

5

1

2

1 1 11 2 2 3 3 33 4 4 5 5 5œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ



Place your hands on the keyboard as shown to the right. Use the groups

of two and three black keys to help you find the correct position.

1 Play this hymn, following the finger numbers as shown. Notes with

stems going up are for the right hand, and notes with stems going down

are for the left. Practice the hymn until you are comfortable with it. Use the

principles of good fingering technique listed on pages 6 and 7.

(The numbers in black boxes in the Keyboard Course correspond to thenumbered examples on the Keyboard Course audiocassette tape. When

you see a number in a black box, listen to that selection on the tape. Then

try to perform each skill as it is done on the tape.)

There Is aGreen Hill Far Away

1 1 1

1 1

2 2 2 2

4 4 4 3 2 1 24 5

2

2 2 3 23œ œ œ œ œ œ œœ œ

œ œ œ œ œ œ œ œ œ

œ œ œ œ

œ œ

54

32

11

234

5

http://broadcast.lds.org/churchmusic/MP3/eng/course/Keyboard_01_eng.mp3




The first step in reading rhythm is finding the beat. The beat in music is

steady, like your heartbeat or a ticking clock. The rhythm in a piece of music

is based on a constant fundamental beat that you can hear and feel. When

you tap your foot to music, you are feeling the fundamental beat and marking

it with your foot. This fundamental beat can be shown by evenly spaced

music notes like these:

2 Clap the beats in the box above. Clap evenly and steadily, once

for each note.

œ œ œ œ œ œ œ œ œ œ œ

LEARNING ABOUT BEATS AND RHY





In written music, beats and notes are grouped into measures. Measures

are divided by barlines.

Music can be written with any number of beats per measure. Most hymns

and children’s songs have three beats per measure as shown above, or fourbeats, two beats, or six beats per measure as shown below.

barline œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ



Counting the beats correctly will help you read rhythm bett

1. Count the beats in each measure of the examples below

again after every barline.

2. 4 Count aloud as you clap the beats in each measure.3. Count aloud as you clap the beats in the examples on t

say: 1 2 3 1 2 3 1 2 3 1œ œ œ œ œ œ œ œ œ œ say: 1 2 3 4 1 2 3 4 1 2 3 4 1

Counting the Beats





You can find out the number of beats

per measure for any hymn or song by reading

the time signature at the beginning of the

music. The time signature is made up of two

numbers, one above the other:

The top number shows the number of

beats per measure. The bottom number shows

the kind of note that is the fundamental beat

for each measure. You will learn more about

The time signature for the first example below is # (say “three-four

the beats per measure in the other examples and write @, #, or $ in th

Open a hymnbook and find time signatures measures and barlin

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ34 œ œ œ œ œ œ œ œ

The Time Signature

344424



The number of beats per measure and the

time signature usually stay the same from

the beginning of a song to the end. In only a

few hymns does the time signature change

(see, for example, “Come, Come, Ye Saints”

[ Hymns, no. 30]).

Another aspect of rhythm that usually

stays the same throughout a hymn or songis tempo. The tempo is the speed of the fun-

damental beat. It should stay even from beat

to beat.

5 Clap the following lines three times. First

clap the line fast, then slow, then medium fast.

Count as you clap.

Time and Tempo

34 œ œ œ œ œ œ œ œ œ œ 44





Each beat in a measure is important, but

the first beat, the downbeat, is the strongest.

Although it is felt more strongly, it is not usually

played or sung more loudly.

6 Clap the beats in the following lines,

emphasizing the downbeats.

When listening to a song, you can find out

the top number of the time signature (or the

b f b t ) b li t i f

The Downbeat

œ œ œ œ œ œ œ œ œ œ œ œ œ 4424

œ œ œ œ œ œ œListen to a recording of music or to someone playing a piano. Can you

feel the beat? Is the tempo fast or slow? Clap with the beat, emphasizing th

d b t C t th b t t fi d th t b f th ti i t





Using RhythmicNames for Notes

In music, beats are represented by notes.

There are several kinds of notes, and each

receives a different value, or number of beats.

To determine the number of beats a note

receives, look at the bottom number of the

time signature. If the bottom number is 4,

notes have the following values:

The quarter note (q ) receives one beat.

The half note (

h) receives two beats.

The dottedhalf note (h. ) receives three

beats.

The whole note (w ) receives four beats.

When a time signature has a bottom number

other than 4, these notes have different values.

We will study some of these different values later

in the course.

LEARNING ABOUT NOTES AND RHY

You can quickly learn to read rhythm by using rhythmic names to ex

note. The chart below shows some of these rhythmic names. Say “dah

each note; say “ah” for each other beat.

Note name

quarter note

half note

Beats

1

2

Note

qh



PRACTICING THERHYTHMIC NAMES

7 Clap a steady beat while saying the rhythmic names of the notesbelow. Asterisks (*) show when to clap. Review and practice the rhythmic

names until you know them well.

Dah - ah - ah

* * *

Dah - ah - ah

* * *

Dah - ah - ah

* * *

Dah - ah - ah

* * *

344

Dah - ah* * * * * * * *Dah - ahdah - ah dah - ah

44 ˙ ˙ ˙ ˙

Dah Dahdah dah dah dah dah dah* * * * * * * *44 œ œ œ œ œ œ œ œ





The four notes you have learned can be combined in several ways within

a measure. These combinations give each piece of music its distinct rhythm.

8 Clap a steady beat while saying the rhythmic names of the notes below.

Notice the double bar at the end of the line. Double bars should be placed

at the end of every piece of music.

Draw barlines to divide the following lines of notes into measures. The

top number of the time signature will tell you how many beats to put in each

measure. End each line with a double bar.

9 Say the rhythmic names of the notes below. Then clap a steady

fundamental beat while saying the rhythmic names.

Dah dah dah dah Dah - ah dah - ah Dah - ah - ah - ah Dah - ah - ahDah dah dah dah Dah - ah dah - ahDah dah dah dah

44 œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ w ˙ .

44 œ œ œ œ œ œ œ œ œ œ œ œ ˙ ̇ w ˙ .œ ˙ .24 œ œœ œ œ œ œ œ œ œ œ œ˙ ˙ ˙ ˙ ˙ ˙˙

Combining Notes of Different Rhythms







You read music like you read a book—from left to right. When you come

to the end of a line, begin on the next line without pausing.

Reading the Rhythm of the Hymns

34 ˙ œ œ œ œ ˙ œ œ œ Dah - ah dah Dah dah dah Dah - ah dah Dah dah

˙ œ ˙ œ œ œ œ ˙ .

In Humility,Our Savior 10 Clap a steady beat and say the rhythmic names

of the notes in this hymn.





11 Clap a steady beat and say the rhythmic names


44˙ œ œ ˙ ˙ œ œ œ œ w Dah - ah dah dah Dah - ah dah - ah Dah dah dah dah Dah - ah - ah

˙ œ œ ˙ ˙ œ œ œ œ w

Abide with Me!





12 Clap a steady beat and say the rhythmic names


34 œ œ œ ˙ œ ˙ œ ˙ .Dah dah dah Dah - ah dah Dah - ah dah Dah - ah -

œ œ œ ˙ œ ˙ œ ˙ .

Sweet Is the Work





The keyboard is made up of white keys and black keys. Black keys are in

groups of two and three.

Find the group of three black keys at the left end of the keyboard. Begin-

ning here and moving to the right, play all the groups of three black keys

until you reach the middle of the keyboard. Play one key at a time, using

fingers four, three, and two of your left hand. Do the same exercise with the

right hand, beginning at the rightmost group of three and moving toward

the middle.

THE KEYBOARD





Music notes on the page show you which

keys to play on the keyboard. Groups of notes

that move up on the page mean to play a

sequence of keys moving to the right, or up

the keyboard.

Notes that move down the page tell you to

play a sequence of keys moving to the left, or

down the keyboard.

Notes can be written in any sequence: mov-

ing up, moving down, changing directions, or

repeating the same note.

Playing by Finger Numbers

Earlier in this course you were introduced to playing the keyboard by fin

(see pp. 8–9). Using your right hand, play the following note sequences on

white keys on the keyboard. Follow the finger numbers written below the no

Play the following note sequences with your left hand on any consecutiv

Follow the finger numbers written above the notes.

1 12 23 3

34œ

œ œ œ œ œ

3 3 3 3 3 324

24 œ œ œ œ œ œ œ œ

2 13 2

4 3 2 1323

4œ œ œ œ œ œ œ œ œ œ

œ œ œ

œ œ œ



Clap a steady beat and say the rhythmic names of the notes below.

Then play the first two examples with your right hand. Then play the next

two examples with your left hand. Use any white keys on the keyboard.

Right hand

Left hand

1

Dah - ah dah - ah dah - ah dah - ah - ahdah dah dah

22 31 2 1

34 ˙ œ ˙ .˙ œ ˙ œ

Dah - ah dah - ah dah - ah dah - ah - ah - adah dah dah dah dah dah

12 133 222 2 2

˙ œ œ w 44 ˙ œ œ ˙ œ œ

4 3 2 33 43

Dah - ah dah dah dah dahdah - ah dah - ah dah

324 ˙ œ œ ˙ ˙ ˙ œ œ

1 12 33 4 3 3˙ . œ



PRACTICING NOTES AND FINGER NUMBERS

1. Clap a steady beat and say the rhythmic names of the notes below.2. 13 Place your left hand as shown in the illustration and play the

notes below. 1

2345

5 4 3 24 3 4 4

2 31

3 234 ˙ œ ˙ œ ˙ œ ˙ . ˙ œ ˙ œ ˙ œ

5 4 442 2 1 2 21 1

3 344 ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙

1 1 23 3 4 4 4 41 1 1 1 12 2 2 2 23 344 œ œ ˙ œ œ ˙ œ œ œ œ w œ œ ˙ œ œ ˙ œ œ œ œ






1. Clap a steady beat and say the rhythmic names of the notes below.

2. 14 Place your right hand as shown in the illustration and play the

notes below.

1

2 3 45

œ œ 1 1 1 15

2 2 2 223 3 3 3444 ˙ ˙ œ œ ˙ ˙ ˙ w ˙ ˙ œ œ ˙ ˙ ˙

3 31

42 3 4 5

2

3 31

42 3 2

53

34 ̇ œ ˙ œ ˙ . ˙ . ˙ . ˙ . ˙ .˙ œ ˙ œ ˙ . ˙ . ˙ . ˙ . ˙ .

4





1. Clap a steady beat and say the rhythmic names of the notes in thishymn (only the first phrase of the hymn is given).

2. Place your hands on the keyboard, as shown to the right.

3. 15 Play the hymn with your right hand, then with your left hand.

Sing the finger numbers as you play. Connect the notes so they

flow smoothly, but do not let them overlap.

In Humility,Our Savior

11

23

455

43 2

1

Right hand

4 5 312 2 œ 12 2 123 3 34

5

Left hand

2 14 3 3

5 54 42 3 34 54œ ˙ œ ˙ œ ˙ œ3

34 ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ ˙ œ œ œ






1. Clap a steady beat and say the rhythmic names of the notes in this hymn.2. Place your hands on the keyboard, as shown to the right.

3. 16 Play the hymn and sing the finger numbers. (The notes above the

words are for the right hand; the notes below the words are for the left.

Notes for the right hand have stems pointing up; notes for the left have

stems pointing down.)

4. Play the hymn and sing the words.

Jesus, the VeryThought of Thee

11

2 23 344

5 5

34 œ œ œ ˙ œ ˙ ˙ œ Je - sus, the ver - y thought of thee With sweet - ness fills my

34 œ ˙ . œ œ œ 2 2 2 2

2

2 1

1

13

4 44

œ œ œ ˙ ˙ œ But sweet - er far thy face to see And in thy pres - ence rœ ˙ œ 2

2

2 1

111

1

3 3

3 344





1. Clap a steady beat and say the rhythmic names of the notes in this hymn.

2. Place your hands on the keyboard, as shown to the right.

3. 17 Play the hymn and sing the finger numbers.


34 ˙ ˙ œ œ œ ˙ ˙ Je - sus, once of hum - ble birth, Now in glo - ry comes to earth. Once

34 œ œ ˙ . ˙ œ œ œ œ œ ˙ .

2 2 2 2

2 222

1 1

1 1 1 1

3

3 1

œ œ œ ˙ .˙ œ ˙

œ ˙ . ˙ grief and pain; Now he comes on earth to reign. Now he comes on earth˙ œ ˙ œ œ œ 3 3

32 2 2 2

2 21 1 1

115 54

11

22 33 445 5

Jesus, Once of Humble Birth






1. Clap a steady beat and say the rhythmic names of the notes in this hymn.2. Place your hands on the keyboard, as shown to the right.

3. 18 Play the hymn and sing the finger numbers. Find the # symbol in the

first line of this hymn. It is called a sharp. This symbol means to play the

black key to the right of the white key with your right thumb. See the

box (፬) on the keyboard picture to the right.


Abide with Me!

■

22

1

5

1

3 344

5

44 ˙ œ œ œ œ œ œ ˙ ˙ œ # A - bide with me! fast falls the e - ven - tide; The dark- ness deep - ens. Lord, with me

44 ˙ œ œ ˙ w ˙ œ œ 1 1 1 1 1

1 112 2 2 2 2

22 3

33

˙ œ œ œ œ œ When oth - er help - ers fail and com - forts flee, Help of the help- less, oh, a - bide with˙ œ œ œ w ˙ œ œ œ ˙ ˙3 32 22221 1 1 1 1

111 12 2

1





The white keys are named after the first seven letters of the alphabet:

A B C D E F G

These seven letter names are repeated several times in succession,

giving every white key a name.

Below is an illustration of a full-length keyboard for a standard piano.

How many times are the letter names repeated in order to give every white

key on a standard keyboard a name? How many times are they repeatedon your keyboard?

Play and name each white key on your piano. Begin with the lowest key

(A on a standard keyboard) and move up to the highest (C). Then start at

the highest key and move down the keyboard, playing and saying the letter

names backwards.

FINDING MIDDLE C Middle C is an important key. C is located to t

black keys. Middle C is the C nearest the middle

shown below. The brand name of the piano is us

above middle C. When you sit at the keyboard to

point to the middle of your body.

Find and play middle C on your keyboard.

Finding and Practicing the White Keys





FINDING AND PRACTICING C AND FC is located to the left of any group of two black keys; F is located to the

left of any group of three black keys (see the illustration to the right). These

are known as guidepost keys.

1. Play and name all of the C’s and F’s on your keyboard.

2. Clap a steady beat and say the rhythmic names of the notes in the

exercises below.

3. Find middle C with your right thumb. Place your fourth finger on the F

above middle C. 19 Play the first exercise below using middle C and F.

Then play the second exercise with the thumb and fifth finger of your

left hand. Use middle C and the F below it.

4. Sing the name of each key as you play it.

5. Label all the C’s and F’s on the keyboard below.

C CCF F

CCCF F F

34 ˙ œ ˙ œ ˙ . ˙ . ˙ . ˙ . ˙ œ ˙

CF

C C C C C CF F F

44 ˙ ˙ ˙ ˙ œ œ œ œ w

Left hand

Right hand





FINDING AND PRACTICING A AND B A and B surround the highest black key in any group of three black keys

(see the illustration to the right).

1. Play and name all of the A’s and B’s on your keyboard.


exercises below.

3. Play the following exercises on any pair of A and B keys with your right

hand; then play them with your left hand. Play them many times with

each hand, using different sets of fingers (fingers 1 and 2, fingers 2

and 3, and so on).


5. Label all the A’s and B’s on the keyboard below.

A B

44 œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ A B A B A A B B B B A A

A A B B B B A A A

44 ˙ ˙ ˙ ˙ œ œ œ œ w



FINDING AND PRACTICING D AND ED and E are the white keys immediately to the right of C. C, D, and E

surround any group of two black keys (see the illustration to the right).

1. Play and name all the C’s, D’s, and E’s on your keyboard.


exercises below.

3. Play the following exercises on the C, D, and E in the middle of the

keyboard with your right hand; then play them with your left hand.

Play them many times with each hand, using different sets of fingers

(fingers 1, 2, and 3; fingers 2, 3, and 4; and so on).


5. Label all the D’s and E’s on the keyboard below.

C D E

C C C C C C C C D D D DD D D D DDE E E

44 œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ ˙ ˙

D DDC CCDE E E EE E E

34 œ œ œ ˙ œ ˙ œ ˙ . œ œ œ ˙ œ ˙ . ˙



FINDING AND PRACTICING GG is on the right side of the lowest black key in any group of three black

keys. It is also the key on the right side of F (see the illustration to the right).

1. Play and name all the G’s on your keyboard.

2. Clap a steady beat and say the rhythmic names of the notes in

the exercises below.

3. Play the following exercises on any set of F and G keys on your

keyboard, first using your right hand, then your left. Play them many

times with each hand, using a variety of fingerings.


5. Label all the G’s on the keyboard below.

F G

F F F F F F F G GF FG G G F GG

44 ˙ ˙ œ œ œ œ ˙ ˙ w ˙ ˙ œ œ œ œ ˙ ˙

F G G GF F F F F G F F FG

34 ˙ œ ˙ œ ˙ œ ˙ . œ œ œ œ œ œ ˙ . ˙



PRACTICING ALL THE WHITE KEYSNow that you have learned the names of all the white keys, you are ready

to play some melodies.


exercises below.

2. 20 Play the following melodies near the m

your right hand, then with your left hand. W

hand, put your thumb on the first key of ea

finger on keys moving to the right. When p

put your fifth finger on the first key of each

finger on keys moving to the right.


D E FCDC D DE E E E E D

F F F FG

34 œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙

C C CB B BD D C C

A A

A A

B BD D E E

C C D

24 œ œ œ œ ˙ ˙ œ œ

œ œ ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙

How Gentle





1. Clap a steady beat and say the rhythmic names of the notes in this hymn.2. 21 Play the hymn and sing the name of each key.

3. Sing the words as you play the hymn.

The first measure of this hymn has only one beat. (The first two beats are

in the last measure.) Beginning notes in partial measures are called pickup

notes. These are common in hymns because they allow the meter of the music

to match the natural meter of the hymn text (see Conducting Course, p. 28).

Notice the curved lines that connect some of the notes in this hymn. They are called slurs and indicate that the two notes are to be sung on the same

word or syllable. Read more about slurs in the Glossary of Musical Terms.

How GentleGod’s Commands

34 œ œ œ œ œ How gen - tle God’s com - mands! How kind his pre - cepts a

34 œ œ ˙ œ œ œ œ œ œ œ E E E D D

C C C C C CC B A G

œ œ œ œ œ œ œ œ œ œ œ œ œ œ cast your bur dens on the Lord And trust his con s

E E E EDD DG GG G FF

A

1 1

223 344

5 5

God Loved Us





1. Clap a steady beat and say the rhythmic names of the notes in this hymn.2. 22 Play the hymn and sing the name of each key.

3. Sing the words as you play the hymn.

Find these symbols ( U ) in this hymn. They are called fermatas, and they

allow you to hold the notes a little longer than their normal value.

God Loved Us, So He Sent His Son

3 344

1 1

2 2

5 5

44 ˙ œ œ œ œ ˙ God loved us, so he sent his Son, Christ Je - sus, the a - ton

44 ˙ œ œ œ œ ˙ ˙ ˙ C C C C C

C

DF E

G G G G G

4 3 21

1

u

˙ ˙ ˙ œ œ œ œ One, To show us by the path he trod The one and on - ly way to

G G G G G G A

U

SECTION 2





SECTION 2

Concepts and Skills You WillLearn in Section 2

1. How to read notes on a music staff

2. How to read accidentals

(sharps, flats, and naturals)

3. How to read a key signature

THE STAFF



Music notes are written on a staff . Thismakes it possible to know which keys to play

without labeling each key with its note name.

A staff is a kind of chart that has five lines

and four spaces. It looks like this:

Notes above middle C are placed on a staff

with a treble clef sign at the beginning:

Notes below middle C are placed on a staff

with a bass clef sign at the beginning:

THE STAFF

middle C& w

?middle Cw

right hand

left handbass clef

treble clef

b r

a c e

w ßÍ

w w w w w w w w ßÍ

w w w w ß

w ?&

?&

&

For keyboard instruments, these two staffs are joined together by a bracthe ones shown below. Notes in the treble clef are usually played by the righ

bass clef are usually played by the left hand.

Notes on lines:

Notes in spaces:

Matching Notes on the Staff with



Each note on the staff represents a white key on the keyboard.

Since the middle part of the keyboard is used most often, the grand

staff represents only the middle keys. On the diagram below, each note on

the grand staff is connected to its corresponding key on the keyboard.

Now that you have learned about the treble an

use them to determine which hand to use in play

hand; bass = left hand). You should no longer u

to determine which hand to use.

˘ G A B C D E F G A B C DG A B C D E F

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

? ̇ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

Matching Notes on the Staff with White Keys on the Keyboard

Left hand Right hand

S I t t Li N t



Memorize the seven line notes shown in the diagram below. G, D, and A are on the bottom, middle, and top lines of the bass clef. E, B, and F are on

the bottom, middle, and top lines of the treble clef. Middle C is between the

two clefs on a small line.

Cover the picture of the keyboard below and point at random to notes on

the staff. As you point to a note, play it on the piano.

Use music note cards 3, 7, 11, 13, 18, 20, 24these notes. Look at the side of each card that h

name of the note and play it on the keyboard. T

check yourself.

Have someone show you the cards one at a t

recognize the notes quickly.

Seven Important Line Notes

A middle C

bottom line

bottom line

middle line

middle line

top line

E BG D

w

w ˘& ˙ ˙

? ̇ ˙ ˙




PRACTICING SEVENIMPORTANT LINE NOTES

ßÍ

ßÍ

ßÍ

ß

& 34 ˙ œ ˙ . ˙ œ ˙ .? 34 ˙ . ˙ . ˙

& 44 ˙ ˙ ˙ w ˙ ˙ ˙

?44 ˙ ˙ ˙ ˙ ˙ ˙

& 34 œ œ œ ˙ . ˙ œ ˙ .

?34 œ œ œ

˙ . œ œ œ & 44 œ œ ˙ œ œ œ ˙ œ 5 1

15

1 5

31

1 5

5

31

1

1. 23 Practice the exercises below until you can play them smoothly.


3. When you’ve learned these exercises, try to play them without looking

Other Line Notes






On the staff below, label each line note with its alphabet name. Thendraw a line to its corresponding key and label each key with its name. (See

page 43 if you need help.)

When you complete this exercise, memorize the new notes. Use music

note cards 3, 5, 7, 9, 11, 13, 20, 22, 24, 26, and 28 to help you. Look at

the side of each card that has the note on it. Sayand play it on the keyboard. Then turn the card


recognize them quickly.

? ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ßÍ G B

˙ ˙

Other Line Notes

P C C G O S



PRACTICING ALL THE LINE NOTES1. Practice the exercises below until you can play them smoothly.


3. When you’ve learned these exercises, try to play them without lookingat your hands.

& 44 œ œ œ œ œ œ œ œ œ œ w

? 44 œ œ œ ˙ ˙ œ œ œ ˙

ß

Í

& 24 œ œ œ œ ? 24 œ œ œ œ œ œ œ œ ˙ ßÍ

& œ œ œ œ œ œ œ œ ßÍ

3

1

1 3 5

5 3

The Space Notes



On the staff below, label each space note with its alphabet name. Thendraw a line to its corresponding key and label each key with its name.

When you complete this exercise, memorize the new notes. Use music

note cards 4, 6, 8, 10, 12, 19, 21, 23, 25, and 27 to help you. Look at the

side of each card that has the note on it. Say theplay it on the keyboard. Then turn the card over


recognize them quickly.

The Space Notes

& ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ ˙ ˙ ß

Í A

˙

PRACTICING THE SPACE NOTES



PRACTICING THE SPACE NOTES1. Practice the exercises below until you can play them smoothly.


3. When you’ve learned these exercises, try to play them withoutlooking at your hands.

& 44 ˙ ˙ œ œ ˙ ˙ œ œ? 44 œ œ œ œ w œ œ œ œ

ß

Í 3

1

1

& 34 ˙ œ ˙ . œ ˙ . ? 34 ˙ œ ˙ . ˙ œ ˙ ßÍ

& ˙ œ ˙ . ˙ œ ? œ˙ßÍ

5 3 1

1 3 5

œ œ

Steps and Skips



On the staff, a step usually moves from a linenote to the space note above or below it, or from

a space note to the line note above or below.

In this section of the course, a “step” moves

from one white key to the nearest white key to

the right or left. (Ignore the black keys when

finding steps and skips )

On the staff, a skip moves from a line tothe nearest line above or below, or from a

space to the nearest space above or below.

In this section of the course, a “skip” jumps

over the nearest key to the next nearest key to

the right or left.

Steps and Skips

& œ œ œ & œ œ œ

PRACTICING STEPS AND SKIPS



PRACTICING STEPS AND SKIPS1. Practice the exercises below until you can play them smoothly (notes

in the treble clef are for the right hand; notes in the bass clef are for

the left hand).


3. When you’ve learned these exercises, try to pl

at your hands.

& 34 ˙ œ ˙ . ˙ . ˙ œ

?34 ˙ œ ˙ .

˙ .˙

œ ˙ . ˙ .

ßÍ

& ˙ œ ˙ . ˙ . ˙ œ ˙ß5

1

? 44 œ œ œ œ œ œ ˙ œ œ œ œ w ? œ œ œ œ œ œ ˙ œ œ œ œ w

& 44 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 1

5

Reviewing Line Notes Space Notes Steps an



On the staff below, label each note with its alphabet name. Then draw a line to its corresponding key and label each key with its name.

The note with an asterisk (*) is called a ledger line note. The short line

represents the middle C line. This note and the note above it are the same

(D). See the Glossary of Musical Terms to learn more about ledger lines.

Review these notes with the music note cardscard that has the note on it. Say the name of the

keyboard. Then turn the card over to check your

five cards at a time, then review them ten at a tim

you the cards one at a time to help you learn to r

Lay cards on a table and have someone point to

Reviewing Line Notes, Space Notes, Steps, an

ßÍ ?&

w w w w w w w w w w w w w w ww w w *C

w

Play the notes below while saying their names. Then have someone point to the notes



y y g p

randomly while you play and say the names.

Without looking at your hands, use the raised black keys to find and play the white

keys for each of the notes on the staff below. Say the name of each key as you play it.

On the staffs below, draw the missing notes as shown in the first two measures. Then

write the note names below each note. Next, play the notes while saying their names.

Right hand

Left hand

&

?

ß

Í w w w

w w w w w

w

w

w

w

w

w

& w w w w w w w w w ? w w w w w w w w w

step up

G A

skip down

D B

step down skip up step up skip down skip up& w w w w w w w w w

DAILY EXERCISES



DAILY EXERCISESThe following exercises will strengthen your fingers and help you play

evenly and smoothly.

24 Using your left hand, practice the exercise

you can play it smoothly and naturally.

& 44

? 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ 4

&? œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ

2 1

&

ßÍ

ßÍ

ßÍ

5 4 3 3 2

25 Using your right hand, practice the exercise below every day until you







can play it smoothly and naturally.

& 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ

?44

ßÍ

& œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ

?

ß

Í

& œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ w ßÍ

1 2 1 2 2 3 2 3 3 4

243435454

1 2 1 2 1 2 3 4 5

HYMNS TO LEARN




HYMNS TO LEARNPractice the following hymns until you know them well. Follow the

instructions for learning each hymn.

Íß

Íß

ß

& 34 œ œ œ œ œ How gen - tle God’s com - mands!

?

34 œ œ ˙ 2

1

1

& œ œ œ kind his pre - cepts are! Come, cast your bur

?

œ œ œ œ œ œ ˙ œ œ 3 4

&

1. Clap a steady beat and say the rhythmic names of the notes in this h

2. 26 Play the hymn and sing the name of each key as you play it.

3. Sing the words as you play.

How GentleGod’s Commands

1. Clap a steady beat and say the rhythmic names of the notes in this hym Jesus, the VeryThought of Thee






2. 27 Play the hymn and sing the name of each key as you play it.


Thought of Thee

ß

ÍßÍ

ßÍ

& 34 œ œ œ ˙ œ ˙ Je - sus, the ver - y thought of thee

? 34 œ ˙ .

2 1 3

2

& ˙ œ ˙ .œ œ

œ ˙ With sweet - ness fills my breast; But sweet - er far

? œ œ œ 2

4

31

& ˙ œ face to see And in thy pres - ence rest.œ ˙ .2

2 1

13 4

1. Clap a steady beat and say the rhythmic names of the notes in this hym Jesus, Once

of Humble Birth







2. 28 Play the hymn with the left hand only and sing the name of each key


The asterisks (*) show where to shift your hand position to follow the finge

of Humble Birth

ß

ÍßÍ

ßÍ

& 34 Je - sus, once of hum - ble birth, Now in glo

? 34 ˙ œ ˙ œ œ œ œ ˙ . ˙ œ ˙1 1 *1 *4 4 3 23

& comes to earth. Once he suf - fered grief and pain; N

? œ œ œ ˙ . ˙ œ ˙ œ œ œ œ ˙ .*1 *11 2

& comes on earth to reign. Now he comes on earth to re1

1. Clap a steady beat and say the rhythmic names of the notes in this hym

2 Pl h h i h h i h h d l d i h f h k

Jesus, Onceof Humble Birth





2. Play the hymn with the right hand only and sing the name of each key a



of Humble Birth

ß

ÍßÍ

ßÍ

& 34 ̇ œ ˙ œ œ œ œ ˙ . ˙ œ ˙ Je - sus, once of hum - ble birth, Now in glo

? 34

3 3 21 4 *2*1

&œ œ œ

˙ . ˙ œ ˙ œ œ œ œ ˙ .comes to earth. Once he suf - fered grief and pain; N

?*5*3

& ˙ œ ˙ œ ˙ . ˙ œ ˙ œ œ œ œ ˙comes on earth to reign. Now he comes on earth to rei

?32 455 *3 *2 *1


2 29 Pl th h ith th l ft h d l d i th f h k

God Loved Us,So He Sent His Son





2. 29 Play the hymn with the left hand only and sing the name of each ke



So He Sent His Son

ß

ÍßÍ

ßÍ

& 44God loved us, so he sent his Son,

? 44 ˙ œ œ œ œ ˙ ˙ ˙ 5

u*

& Je - sus, the a - ton - ing One, To show us

? œ œ œ œ ˙ ˙ ˙ ˙ œ œ u*52

& path he trod The one and on - ly way to God.

? ˙ ˙ œ œ œ œ 5*222


2 Play the hymn with the right hand only and sing the name of each key

God Loved Us,So He Sent His Son





2. Play the hymn with the right hand only and sing the name of each key



So He Sent His Son

ß

Íß

Í

ßÍ

& 44 ˙ œ œ œ œ ˙ ˙ ˙ God loved us, so he sent his Son,

? 44

U1

& œ œ œ œ ˙ ˙ ˙ ˙ œ œ Je - sus, the a - ton - ing One, To show us

?

U*15 3

& ˙ œ œ ˙ ˙ œ œ œ œ ˙ œ œ ˙path he trod The one and on - ly way to God.

?

U U4 4 5 *4

ACCIDENTALS



# (sharp sign—the note is raised)

b (fl h l d)

n(natural sito normal)

Accidentals are signs that look like this:

SHARPS FLATS NATURAL



A sharp sign ( # ) means to raise the note

by playing the next key to the right, usually a

black key.

As shown in the diagram below, when a

sharp sign is placed in front of an F on the staff,

you should play the black key to the right of

the F. Its name then becomes F-sharp.

A flat sign ( b ) means to lower the note

by playing the next key to the left, usually a

black key.

As shown in the diagram below, when a flat

sign is placed in front of a B on the staff, you

should play the black key to the left of the B.

Can the same black key be both a sharp

and a flat? Play A-sharp and B-flat to find out.

A natural sign ( nas written. Do not r

When an accideflat, or natural, play

out the measure. A

dentals.

Bb

? bœ ?

F#

& #œ

Learning about Sharps



Draw a sharp sign ( # ) in front of each of the following notes. Then draw a line from each note to its corresponding key.

On the lines below, write the names of the sharps marked with ፬.

After drawing lines to the keys, find each of th

instrument. Say the name of each key as you pla

& œ œ œ œ

? # œ œ œ œ œ œ

ß

Í

C Middle

G#

DAILY EXERCISES WITH A SHARP



Play the following exercises evenly, smoothly, and firmly. Remember to

raise each finger high to strike the key. You should hold your wrists high,

away from the keys but level with your forearm. Increase the tempo a little

each day.

&44œ œ œ œ œ œ ˙ œ # œ œ # œ œ # œ ˙ # œ

? 44 œ œ œ œ œ œ ˙ œ # œ œ # œ œ # œ ˙ # œ

& # œ œ # ̇ œ œ œ œ œ œ ˙ # œ œ # œ œ # œ œ # ̇

? # œ œ # ˙ œ œ œ œ œ œ ˙ # œ œ # œ œ # œ œ # ˙

& œ # œ ˙ œ œ œ œ œ œ ˙ œ œ # œ œ œ œ # œ œ

3 4

1 2

Left hand

Right hand

5

1

43

2

5

1

43

2

HYMN TO LEARN



Practice the following hymn until you know it well.

ßÍ

ßÍ

ß

&44 Praise God, from whom all bless - ings flow;

? 44 ˙ ˙ # ̇ ˙ ˙ ˙ ˙ ˙ 2 *3

u

& him, all crea - tures here be - low; Praise him a - bove

? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ *3

u*1

&

1. 30 Play this hymn with the left hand only.


Praise God, from Whom All Blessings Flow

1. Play this hymn with the right hand only.


Praise God, from Whom All Blessings Flow





ßÍ

ß

ÍßÍ

& 44 ˙ ˙ # ̇ ˙ ˙ ˙ ˙ ˙ Praise God, from whom all bless - ings flow;

? 44

4 *2

U

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙him, all crea - tures here be - low; Praise him a - bov

?

U

& ˙ # ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

heav’n - ly host; Praise Fa - ther, Son, and Ho - ly Ghos

?

U U*1 *12 5 3

Learning about Flats



Draw a flat sign (

b) in front of each of the following notes. Then draw a

line from each note to its corresponding key.

On the lines below, write the names of the flats marked with ፬.

After drawing lines to the keys, find each of th

instrument. Say the name of each key as you pla

& œ œ œ

? œ œ œ œ œ œ

ß

Í b

C Middle

Gb

DAILY EXERCISES WITH A FLAT



Play the following exercises until you have mastered them. Play evenly,

smoothly, and firmly. Remember to raise each finger high to strike the key.

Hold your wrists high, away from the keys but level with your forearm.

Increase the tempo a little each day.

&

44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œRight hand

1

? œ œ œ œ44 œ œ œ œ œ œ ˙ œ œ œ ˙ Left hand

5

& œ bœ ˙ bœ œ bœ œ bœ œ b˙ œ bœ œ bœ œ bœ ˙

& œ œ œ ̇ œ œ œ ˙ œ œ œ œ œ bœ œ bœ œ œ

? b b b b b b b b

5

1

43

2

5

1

432

HYMN TO LEARNP i h f ll i h il k i ll



Practice the following hymn until you know it well.

ßÍ

ßÍ

ß

& 34 How gen - tle God’s com - mands! How kind

? 34 œ œ œ œ œ œ œ ˙ œ œ 1 23 4 3 *2

&pre - cepts are! Come, cast your bur -

?

œ œ œ ˙ œ œ œ œ œ œ 23 3 3 4*3 5

&

1. Play this hymn with the left hand only.


How Gentle God’sCommands

1. Play this hymn with the right hand only.


How Gentle God’sCommands



ß

Íß

ÍßÍ

& 34 œ œ œ œ œ œ œ ˙ œ œ How gen - tle God’s com - mands! How kind

? 34

5 4 *43 32

& œ œ œ ˙ œ œ œ œ œ œpre - cepts are! Come, cast your bur -

?3 2 22*2 1 *1

& œ œ b œ œ œ œ œ œ b œ œ œ œ ˙ on the Lord And trust his con - stant care.

?54 43 2 2 *21 14

THE KEY SIGNATURE



The key signature is found at the beginning

of a staff of music. It shows which notes are to

be sharped (raised) or flatted (lowered) through-

out the hymn. This eliminates the need to put a

sharp sign or flat sign by every note that needs to

be sharped or flatted.

If there is a sharp sign on the F line, for exam-

ple, all the F’s should be played sharp unless the

key signature changes or an F has a natural signin front of it. This includes all the F’s wherever

they are on the staff:

The key signature will always be the same

in both the treble clef and the bass clef:

&

# 44

? # 44ßÍ

1.

&b b

? b bßÍ

2.

& b 44

? b 44

ßÍ

3. & # #

? # #

ßÍ

4.&# 34# œ

# œ ( )

( )

œ n

key signature

F natural

➡

➡

&

# 34

# œ

## 3 #ßÍ( )

( )

( )

Look at each staff below. On the line below each staff, write the names

the notes that should be played sharp or flat.

DAILY EXERCISESPlay the following exercises with each hand separately Play them every day



Play the following exercises with each hand separately. Play them every day

until you know them well, beginning slowly and increasing the speed a little each

day. With practice, your fingers will become accustomed to each hand position.

& 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ .

? 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ .

ß

Í1

1

2

2 2

23

34

45

5

& b34 œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ ˙ .? b 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ .

ßÍ 1

12

2 2

2

3

34

4

5

5

& # 34ß 1 2 23 45

Right hand

Left hand

Play the following exercises with each hand separately. Play them every day

until you know them well. Begin slowly and increase the speed a little bit each day.



& b b 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

?b b 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

ßÍ

1

1

2

2 2

23

34

45

5

& # # 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ .

? # # 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ .

ß

Í

1

12

2 2

2

3

34

4

5

5

D

& b b b 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ? b b 3

ßÍ

1

1

2

2

2

2

3

34

4

5

5

E

b

Bb

Right hand

Left hand

SECTION 3




Learn in Section 3

1. How to play the keyboard with both

hands

2. How to read more note values

3. How to play in more time signatures

PLAYING WITH BOTH HANDS



DAILY EXERCISES You are now ready to play with both hands together. This may seem

awkward at first, but it will soon come naturally as you work hard and

patiently. The following exercises should help you learn this new skill.

1. Play this exercise slowly and evenly, mastering it with each hand alone.

2. Play the exercise with both hands together and increase the tempo alittle each day. The finger numbers are important, so follow them

carefully.

3. The asterisks (*) indicate repeat bars. Play th

the repeat bars over and over until you can pThen move to the next section. 31 When yo

play them without stopping, repeating each s

&

44œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

1 2 3 4 51 2 1 2 3 2 1 2 1

1 2 3 4 5 1 2 1 2 3 2 1 2 1? 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ{{ {{ {{ {{ {{ßÍ

* * *

& 2 1 3 2 1 2 3 1 2 3 4 3 2 1 3 2 1{ { {ß* *

1. 32 Play this exercise slowly and evenly, mastering it with each hand alone.

2. Play the exercise with both hands together and increase the tempo a little each day.








1. 33 Play this exercise slowly and evenly, mastering it with each hand alone.

2. Play the exercise with both hands together and increase the tempo a little each day.

& 34 ˙ œ b ˙ œ ˙ œ ˙ œ ˙ œ b ˙ œ ˙ ? 34 ˙ . ˙ . ˙ . ˙ . ˙ . ˙ . ˙ .ßÍ

3 4 41 1 1

2

2 25

& œ œ œ b œ œ œ ˙ œ ˙ œ œ œ œ b œ œ œ ˙

?˙ . ˙ . ˙ . ˙ . ˙ . ˙ . ˙ .

ßÍ

34 41 2 5

2 4 5

43

ßÍ

1

1

3

35 5&

44 œ œ œ œ œ œ œ œ œ

? 4






instructions for learning each hymn. When you learn these hymns, begin

using them to accompany singing at home and at church.


2. Play the notes in the treble clef and sing the melody (right hand on

3. Play the notes in the bass clef (left hand only).

4. 34 Play the hymn with both hands together.

High on the Mountain Top

& 44 œ œ œ œ œ ˙ . œ œ œ bbb

bb

œ œ ˙ .High on the moun - tain top A ban - ner is un - furled.

? 44 w w w w ßÍ 1 3

31

& œ œ œ n œ ˙ ˙ œ œ œ œ ˙ . œ œ œ œ œ ˙ na - tions, now look up; It waves to all the world. In Des - er - et’s

?w w ˙ ˙ w w w

ßÍ

2 1

& n bß

*2

*5*3

1. Play the hymn with each hand separately.



While of These Emblems We Partake







& 34 œ œ œ ˙ œ ˙ œ ˙ . œ While of these em - blems we par - take In

? 34 ˙ . ˙ . ˙ . ˙ . ˙ .

3

4 2

& ˙ œ ˙ # œ ˙ . œ b œ œ ˙ name and for his sake, Let us re - mem

? ˙ . ˙ . ˙ . # ˙ . ˙ .4

& œ œ œ ˙ . ˙ œ ˙ and be sure Our hearts and hands are clean and pure

?4

*2

*1

ß

Íß

ÍßÍ *4

*4




How Great theWisdom and the Love





& œ œ œ œ œ œ b

bb

b

b

œ œ œ œ ˙ How great the wis - dom and the love

? ˙ . ˙ .˙ .

˙ .

ß

Í

1 5 4 3 1 4

5 4 1 5

& œ œ nœ œ œ œ ˙ œ œ œ b œ ˙ filled the courts on high And sent the Sav

? ˙ . ˙ œ ˙ . ˙ . ˙ .3 5 51 2 4 3

2 3 4

&˙ œ

from a - bove To suf - and d5

U1 2 4 5 4 1 2

ß

Í

ßÍ

3

34

34

*2

*1

*1 *5

*2fer, bleed,




As I Searchthe Holy Scriptures





& 44 œ œ b

b

œ œ œ œ œ œ œ œ œ œ œ œ As I search the ho - ly scrip - tures, Lov - ing Fa - ther of ma

? 44 w bbb

b

w w n ˙ 3

4 2 3 4

&œ n œ œ œ œ œ œ œ œ

May heart be blessed with wis - dom, And knowl - edge fill my

3 *2

*1 2 4

1

my

ß

Í

ßÍ*2

may

*2

OTHER NOTE VALUES



Eighth Notes A quarter note ( q ) can be divided in half, creating two notes that are A beat

each. These notes are called eighth notes. They are flagged on the stems ( e )or connected by a beam ( ). Eighth notes are twice as fast as quarter notes.

See the chart to the right for a comparison of quarter notes and eighth notes.

In this course, the rhythmic name for two eighth notes is dah-nah. As shown

below, say “dah” on the beat and “nah” between beats (or off the beat).

38 Clap once for each beat as you say the rhythmic names of the notes below. The asterisks (*) show the beats.

39 Say the rhythmic names of the notes below while clapping once for each beat.

œ œ œ œ œœ œ œ

Dah - nah dah - nah dah - nah Dah - nah dah - nah dah - nah Dah - nah dah - nah dah -

34 œ œ œ œ œ œ œ œ œ œ œ œ œ j œ j œ j œ j œ j

* * * * * * * * * * * * *Dah dah Dah- nah dah

24 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ

PRACTICING EIGHTH NOTES1. Clap a steady beat and say the rhythmic names of the notes in the

exercises below

2. Play the exercises with each hand separately.

3 40 Play the exercises with both hands togeth









exercises below. 3. 40 Play the exercises with both hands togeth

& b 34 œ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ œ œ œ œ œ œ œ œ œ œ

? b 34 ˙ . œ ˙ œ ˙ ˙ .

˙ . œ ˙ ˙ œ

ß

Í& 44

œ œ

œ œ œ

˙ ˙ œ œ œ œ œ œ ˙ ? 44 ˙ ˙ œ œ œ œ œ œ ˙ ˙ œ œ

ßÍ

1

5

&ßÍ

4

5


instructions for learning each hymn Follow these instructions also as

hymns 82 and 65 of Hymns Made Easy. Where th

at the same time leave out the middle note for now





instructions for learning each hymn. Follow these instructions also as

you learn “Keep the Commandments” and “Let the Holy Spirit Guide,”

at the same time, leave out the middle note for now

hymns, begin using them to accompany singing

& 34 ˙ œ œ œ œ ˙ œ ˙ . ˙ God, our Fa - ther, hear us pray; Send

? 34 ˙ . ˙ . ˙ . ˙ . ˙ .1

1

3

2

& œ œ œ ˙ œ œ ˙ . ˙ œ œ grace this ho - ly As we take

?˙ . # ˙ . ˙ . ˙ . ˙ .

& ###

##

ß

day.

1

*4 2

3 4

ßÍ

ßÍ *1

*1 *2



3. Play the hymn with both hands together.


God, Our Father, Hear Us Pray




4 Sing the words as you play

Lord, Dismiss Uswith Thy Blessing






& 44 œ œ œ œ œ œ œ œ œ œ œ œ b

bb

bb

œ œ œ œ œ œ œ ̇ œ Lord, dis - miss us with thy bless - ing; Fill our hearts with joy and peace. Let

? 44 w ˙ ˙ ˙

˙ ˙ ˙ w

3

4

3

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ ̇ œ œ œ œ œ œ œlove pos - sess - ing, Tri - umph in re - deem - ing grace. Oh, re - fresh us, oh, r

? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

ß

Í

&œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ

Trav - ’ling thru this wil - der - ness. Oh, re - fresh us, oh, re - fresh us, Trav - ’ling thru this w

?ßÍ

ßÍ

4

4

*3

*2

THE SUSTAININGPEDAL

L h d l

The sustaining pedal is located in the

center of the piano near the floor. It is the

pedal on the right and is usually played with

the right foot Rest the heel of your right foot

vibrate unstopped u

If you hold the ped

several notes that d

sound becomes m



Learning to use the sustaining pedal is an

important part of learning to play the piano

with both hands together. The sustaining pedal

can help you play the piano in a smooth and

flowing style. It adds a rich, fluid quality to the

sound.

the right foot. Rest the heel of your right foot

on the floor and depress this pedal with the

ball of your foot.

When using the sustaining pedal, let your

ear be your guide. When you depress the

pedal, the strings of the piano are allowed to

sound becomes m

don’t hold the peda

becomes choppy. Y

(release it and depr

times in a measure

least with every har

muddy, confused s

The general rule

just after you play a

hold the keys downup-and-down motio

vious chord and su

The pedal can sust

are preparing to pla

With practice, us

becomes so natura

about it when you pbe written in the mu

to show you when t

the pedal.

depress

God, Our Father, Hear Us Pray




42 Practice using the sustaining pedal as you play the following hymn.

Follow the pedal markings. 43 Next, experiment with the sustaining pedal.Try holding it too long or too short. Find the right combination by letting

your ear guide you.

Use the sustaining pedal while playing the hym

learned. Begin with the hymn on page 78.

You may write pedal markings in this book or

Use the sustaining pedal through the remainder

&34 ˙ œ œ œ

œ ˙ œ ˙ . ˙ God, our Fa - ther, hear us pray; Send

? 34 ˙ . ˙ .##

##

#

˙ . ˙ . ˙ .ßÍ1

1

3

2

& œ œ œ ˙ œ œ ˙ . ˙ œ œ grace this ho - ly As we take

? ˙ . # ˙ . ˙ . ˙ . ˙ .ßÍ

& bl bl t O Sa i ’ l tßÍ

day.

2

4

1

2

*4 *5

*1

*1

Dotted Notes







A dot next to a note increases the value of the note by one-half.

A half note ( h ) gets two beats. If you add a dot to it ( h. ), its value

increases one beat (half of the original note), making it get three beats.

A quarter note ( q ) gets one beat. If you add a dot to it ( q . ), its value

increases by A beat (half of the original note), making it get 1A beats.

The remaining A beat is usually written as an eighth note.

Compare the rhythms to the right:

44 Clap a steady beat and say the rhythmic names of the notes in the

examples below. The asterisks (*) show the beats.

Dah-ah nah dah-ah

Dah dah - nah dah

Dah dah dah

j œ . œ œ .œ œ œ œ

œ œ œ

Dah dah dah ah nah Dah dah dah ah Dah ah nah dah dah Dah - * * * * * * * * * * * * *

- - -

44 œ œ œ . œ j œ œ ˙ œ . œ j œ œ ˙


instructions for learning each hymn. Remember to use the sustaining pedal

as you play. When you learn these hymns, begin

singing at home and at church.









I Know My Father Lives

& 44 œ œ . œ j œ œ ˙ . œ œ œ I know my Fa - ther lives and loves

?

44 w w w 2 4

2

5

&ß

& ˙ . œ œ . œ j œ œ œ œ œ œ œ œ too. The Spir - it whis - pers this to me and tells me

?w

#w

1 2 3 4 5

3 2

ßÍ

ßÍ

*2

*4

*4





I Need Thee Every Hour





& 34 œ œ . œ j œ œ ˙ œ œ . œ j œ œ ˙ I need thee ev - ery hour, Most gra - cious Lord.

? 34 ˙ .˙ . ˙ . ˙ .

ß

Í

3

4

& œ . œ J œ œ ˙ œ œ . œ j œ œ ˙ œ œ . œ j œ œ ten - der voice like thine Can peace af - ford. I need thee, oh, I

?#

##

#

#˙ . ˙ . ˙ œ ˙ . ˙ .2

&j j j

Ev - ery hour I need thee! Oh, bless me my Sav - ior; I come to2 *3 2

ß

Í

ßÍ now,

*3

*3

*4

*3

*4

*4





Be Thou Humble





& 34 œ œ œ œ œ œ œ œ œ œ œ . œ J œ œ œ Be thou hum - ble in thy weak - ness, and the Lord thy God shall lead t

? 34 œ ˙ œ ˙ ˙ œ œ

3

2

& œ . œ j œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œlead thee by the hand and give thee an -swer to thy prayers. Be thou hum - ble in thy ple

? #˙ . ˙ . ˙ . ˙ . œ ˙ œ2

&œ .

Jj j

Lord thy God shall bless thee, Shall bless thee with a sweet and calm as - sur -ance thatßÍ2

ß

Íß

Í

*5

*1

*4*4

*5

*5 *4 *5 *2

RESTSRests are symbols that indicate a certain

length of silence. When you see a rest, don’t

Complete the measures below by adding rests to equal the number of b

as shown by the time signatures.



play. The beat is still there, but it is a beat of

silence rather than sound.

Rests are held for the same number of

beats as the notes of the same name.∑ whole rest 4 beats

Ó half rest 2 beats

Œ quarter rest 1 beat‰ eighth rest A beat

Sometimes one hand plays while the

other rests, and sometimes both hands rest

together. Open the hymnbook and find rests.

Name them.

Draw a line from each rest below to itscorresponding note of the same value.

∑ w

‰ hŒ q

44 œ œ œ œ œ œ œ j ˙

34 œ ˙ 24 œ œ œ œ

j

HYMNS TO LEARNThe following hymns will give you practice with eighth notes, dotted

notes, and rests. Follow the instructions for learning each hymn, and

practice it until you know it well. Use these hymn

at home and at church. Be sure to check the key

fl d i h i i d l



flats, and continue to use the sustaining pedal.

1. Clap a steady beat and say the rhythmic names of the notes in this

in the last two measures. A tie is a curved line that connects notes.

notes are tied, add them together and play them as one long note.)

2. Play the hymn with each hand separately. 47 Then play it with both


Keep theCommandments

& b 24 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Keep the com - mand - ments; keep the com - mand - ments! In this there is

?b 24 ˙ ˙ ˙ ˙ œ œ 5

4

& b œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ this there is peace. He will send bless - ings; He will send bless - ings.

?b n ˙ b ˙ ˙ ˙ ˙ ˙ 1 2

& b

ßÍ

ßÍ

ß

*5

*2 *4





How Great Thou Art







& œ j œ œ œ . œ j œ œ œ œ œ œ .

? ‰ Œ ˙ . œ œ ˙ .

3

5 1

& œ . j œ œ œ œ j œ j œ œ œ j œ?

3

ß

ÍßÍ

b 44b

44bbbb

b

b

j j



bbb

bbbb

bb

bb

ßÍ

ßÍ

ß

Í

& œ œ œ œ œ œ . œ jœ œ œ œ ˙ œ j? œ ˙ . ˙ . œ ˙ œ j1 2

& œ . œ J œ œ œ œ ˙ œ j œ J œ œ ˙ œ j œ j œ œ ˙

?˙ ˙ w w w 5

2

& œ . œ J œ œ œ œ ˙ œ j œ J œ œ ˙ œ J œ J œ œ

?

2

U

.

*1*5

*2





I Am a Child of God



& 44 œ œ œ œ œ ˙ . œ œ . œ J œ œ ˙ . I am a child of God, And he has sent me here,

? 44 w w w w

1

5

5

1

2

2

& œ œ œ œ œ œ œ . œ j œ œ œ œ ˙giv - en me earth - ly home With par - ents kind and dea

ßÍ

ß

Í2

4

*2

2

5 4

1

an

*2

##

####



& œ œ œ œ œ œ œ . j œ œ œ œ ˙ .Teach me all that I must do To live with him some - day.

?

ßÍ 5

1 3 5 4 2 1 *4 3œ

U

& œ œ œ œ œ œ œ œ œ œ œ . œ J ˙ .Lead me, guide me, walk be - side me, Help me find the way.

? w w ˙ ˙ ˙ .

ß

Í5

1 3 3 5

2 3

1

2

##

####





Do What Is Right



ßÍ

ß

Í

ßÍ

& # 34 œ . œ j œ ˙ œ œ œ œ œ ˙ œ .Do what is right; the day - dawn is break - ing, Hail

? # 34 ˙ . ˙ . ˙ . ˙ . ˙ .

3

1

& # œ œ œ œ . œ j œ ˙ . œ . œ j œ œ .fu - ture of free - dom and light. An - gels a - bove

? # ˙ Œ ˙ . ˙ . ˙ . ˙ .1 3 5

&# j j

si - lent notes tak - ing Of ev - ’ry ac - tion; then do what is1 3 5

*4

*3

*4



& # œ œ œ œ œ œ œ œ œ œ ˙ œ Do what is right; let the con - se - quence fol - low. Bat

? # ˙ . ˙ . ˙ . ˙ . ˙ 1

& # œ œ œ œ œ œ # œ ˙ . œ . œ j œ œ .free - dom in spir - it and might; And with stout hearts

?# ˙ . ˙ . ˙ . ˙ . ˙ .

5 5

& # œ . œ j œ œ ˙ œ . œ j œ œ œ œ œ . œ j œ forth till - mor - row. God will pro - tect you; then do what is

?1 3 5

ßÍ

ßÍ

ß

Í

*1

*1

*33

*1

*3

*4

to

Two eighth notes ( e e ) can be divided in half, creating four

Sixteenth Notes



notesthat are B beat each. These are sixteenth notes and are double flagged

( x x x x ) or double beamed ( ). Sixteenth notes are twice as

fast as eighth notes. Four sixteenth notes ( ) equal one quarter note

( q ). See the chart to the right for a comparison of quarter notes, eighth

notes, and sixteenth notes.

In this course, the rhythmic name for four sixteenth notes is dah-nee-

nah-nee.

49 Clap once for each beat as you say the rhythmic names of the

notes in the exercises below. The asterisks (*) show the beats.

œ œ œ

œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

Dah - nah dah-nee-nah-nee dah - nah dah

**

** * * * * * * * *

*

44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

* * * * * * * * * *

34 œ œ œ œ œ œ ̇ œ œ œ œ œ œ œ ˙ .


PRACTICING SIXTEENTH NOTESCombining two or three of the sixteenth notes in a group of four

creates some interesting rhythms, as shown to the right.

The third rhythm a dotted eighth note and a sixteenth note is used






The third rhythm, a dotted eighth note and a sixteenth note, is used

most often in the hymns. It has an irregular, short, skipping motion unlike

the regular dah-nah. This rhythm is sometimes called “dotted rhythm.”Dah-nee - nah dah - nah - neeœ œ œ œ œ œ

* * * * * * *

Dah - nee dah - nee dah - nee dah - nee

* * * * * * *

œ . œ œ . œ œ . œ œ . œ œ . œ œ . œ œ .œ œ œ œ œ œ œ œ œ œ œ œ œ œ44

Dah - nah dah - nah dah - nee dah

œ œ œ œ œ . œ œ œ œ œ œ œ . œ œ œ œ œ . œ œ œ œ . œ œ .44

50 Clap a steady beat and say the rhythmic names of the following notes. The asterisks (*) show the beats.

51 Clap a steady beat and say the rhythmic names of the following notes.

HYMNS TO LEARNPractice the following hymns until you

know them well. When you learn them, begin

using them to accompany singing at home

After you learn the hymns on pages 102

through 108 in this manual, learn the following

hymns in Hymns Made Easy.

“There Is a Green Hill Far Away” (p. 51)

“Teach Me to Walk in the Light” (p 83)

“Help Me Teach

“Keep the Comm

“How Great the

(p. 48)

“O God the Ete







and at church.Teach Me to Walk in the Light (p. 83)

“Praise God, from Whom All Blessings

Flow” (p. 13)

“Testimony” (p. 37)

O God, the Ete

While first learni

want to leave out th

notes are to be play

1. Clap a steady beat and say the rhythmic names of the notes in this

2. Play the hymn with each hand separately.3. 52 Play the hymn with both hands together.


We Thank Thee,

O God, for a Prophet

& # # 44œ .

œ œ œ . œ œ .

œ œ . œ ˙ œ œ .

œ œ œ . œ We thank thee, O for a proph - To guide us in t

? # # 44 Œ w w w 1

4

& d W th k th f d i thßU

ßÍ God, et

*1

# # œ œ . œ œ œ . œ œ œ .

œ œ œ .

œ ˙

3 3 *2

*2 *5





& œ ˙ .light - en our minds with its rays. We thank thee for ev - e - ry bless

? # # ˙ . œ ˙ . Œ ˙ ˙ ˙ ßÍ3 3 *2

& # # œ œ . œ œ œ . œ ˙ . œ œ œ . œ œstowed by boun - te - ous hand. We feel it a pl

? # # w ˙ . Œ ˙ ˙

& # # ˙ œ œ . œ œ œ . œ œ œ . œ ˙ .serve thee, And love to o - bey thy com - mand.

?# ˙ ˙ ˙ ˙ .

ßÍ

ßÍ

*2 *5

*2

*3

*1

thy





Joseph Smith’s First Prayer



& 44 œ . œ œ œ œ œ œ ˙ œ . œ œ œ Oh, how love - ly was the morn - ing! Ra - diant beamed the

? 44 Œw w w

ßÍ

1

2

& œ ˙ œ . œ œ œ œ œ œ ˙ œ . œ œ œ bove. Bees were hum - ming, sweet birds sing - ing, Mu - sic ring - ing

?

ß

Í

*5 *1

*1 *1*2

. . œ . œ

œ œ



& ˙ œ œ J œ œ œ grove, with - in the shad - y wood -

? ˙ . Œ w w ßÍ

& œ . œ J œ œ ˙ . œ . œ œ œ œ œ œsought the God of love, with - in the sh

? ˙ ˙ ˙ . Œ ˙ ˙4 2

& œ ˙ œ . œ œ œ œ œ œ œ ˙ . wood - land Jo - seph sought the God of love.

?. ˙ .

3 32

ßÍ

ßÍ

*4

*5 *1 *1

When

When lan

*1


2. Play the hymn with each hand separately (notice that the hymn change



Come, Come,Ye Saints





& # 44 œ œ . œ œ . œ j œ œ œ œ ˙ Come, come, ye Saints, no toil nor la - bor fear;

? # 44˙ ˙ ˙ ˙

ßÍ

1 12

3

& # 34 44œ . œ ˙ œ . œ ˙ œ œ . œ œBut with joy wend your way. Though hard to yo

? # 34 44œ ˙ œ ˙ ˙ ˙

ß

Í2 1

&# 3œ ˙ œ .

jour - ney may ap - pear, Grace shall be as your da

U12 2 1

ßÍ



& # œ œ œ œ œ œ œ œ œbet - ter far for us to strive

? #˙ . ˙ .

& # œ œ œ œ œ œ œ œ . œ j œ œ œ . use - less cares from us to drive; Do this, and joy

? # ˙ . ˙ . Œ ˙ 1 3

&

# œ œ ˙ œ . œ ˙ œ . ˙ hearts will swell — All is well! All is well!

2 1

ßÍ

*1

*4 *1

*3

ß

Í

ßÍ





Redeemer of Israel



& 44 œ œ œ œ œ ˙ œ œ œ ˙ œ œ ˙ .Re - deem - er of Is - rael, Our on - ly de - light,

? 44 Œ w ˙ ˙ ˙

˙ ˙ .

ßÍ

2

5

1

& ˙ œ œ œ œ œ œ ˙ . œ ˙ œ œ œ ˙ whom for a bless - ing we call, Our shad - ow by day

? w ˙ # ˙ ˙ . Œ ˙ ˙ w 5

5

5

3

&˙ œ . œ j pil - lar by night, Our King, our De - liv - ’rer, our a

2 4 3

ß

Í

ßÍ

*1 *2

*1

You have learned that a quarter note ( q ) can be divided in half (creat-

œ œ

Triplets



ing two eighth notes) and in half again (creating four sixteenth notes). A triplet ( ) is a group of notes that divides the quarter note into thirds.

The triplet always has a little three ( £ ) above or below it, and the three

notes combined get one beat.

In this course, the rhythmic name for triplets is trip-a-let. The notes in

a triplet may be combined, forming figures like those to the right.

The first two measures in the example below are counted like this: one,

two, three, four, trip-a-let, two, trip-a-let, four. Clap the following rhythms:

HYMN TO LEARN

œ œ œ œ œ œ £ £œ œ j œ j œ £ £

44 œ œ œ œ œ œ œ œ œ * * * * * * * * * * * * * *

œ œ œ £ œ œ œ £ œ œ œ £ œ œ œ £ œ

* * * * * * * * * *

34 œ œ œ œ œ œ œ œ ˙ œ œ œ œ . œ j œ œ œ £ £ £ £

œ œ

Study the chart below to learn about note valu

OTHER TIME SIGNATURES



The ^ Time Signature You already know that the top number in the time signature shows the

number of beats per measure. The bottom number shows the kind of note

that is the fundamental beat.

So far you have learned to play hymns in which the quarter note ( q ) is

the fundamental beat. Hymns written in ^ time have the eighth note ( e )

as the fundamental beat. In ^ time there are six eighth notes (or the

equivalent) in each measure.

In $, #, and @ times,the eighth notes are connected in groups of two (

) or four ( ). In ^ time, the eighth notes are connected in groups of

three ( ). The three notes can be added together or divided in ways you

have already learned, but the result must always equal six beats (six eighth

notes) per measure.

^ time. Then study the examples at the bottom o

68 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ j j j jœ œ œ œ œ . œ . œ . œ œ œ . œ œ œ œ œ

NOTE VALUES AND RHYTHMIC N

Note name Beats Note

Eighth note 1 e Quarter note 2 qDotted quarter 3 q.Dotted half note 6 h.Sixteenth note A x Dotted eighth, sixteenth 1A , A e .

55 Clap the following rhythms:

œ œ œ œ œ œ

œ œ œ

Another time signature that has six beats in each measure is %. The

The % Time Signature





fundamental beat is the quarter note, as shown by the 4 on the bottom of the time signature. The notes in each measure must equal the value of six

quarter notes. Study the examples below:

HYMNS TO LEARNLearn the following hymns from Hymns Made Easy. The first two are

written in ^ time, and “Silent Night” is in % time. Say or clap the rhythms

before playing them on the keyboard. When you learn these hymns, begin

using them to accompany singing at home and at church.

57 “Love One Another,” p. 80

58 “Come unto Jesus,” p. 31

59 “Silent Night,” p. 60

Other time signatures that use eighth notes as the fundamental beat

are ( and ) .

64œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . œ j œ j œ œ œ ˙ . ˙ œ ˙ œ œ œ œ . œ .









SECTION 4


L i S ti 4



Learn in Section 41. How to play three-part hymns

2. How to use the standard hymnbook

3. How to play four-part hymns in

the standard hymnbook

Most hymns in Hymns Made Easy are

written in two or three voices rather than in

soprano and a bass line, but the middle voice,

when present, can change from alto to tenor,

unison singing but

singing also.

PLAYING THREE-PART HYMNS



four, as found in the standard hymnbook.

In these simplified hymns there is always a

or from the treble to the bass staff. These sim-

plified hymns are designed for accompanyingFor a list of hym

ease of learning,se

DAILY EXERCISESBecause most hymns in Hymns Made Easy are written in two or

three voices, you will usually need to play two notes with the same hand

and the third note with the other hand. 60 To h

two notes with the same hand, practice the follow

hand alone. Play slowly at first and increase the s

Always play smoothly and evenly.

1 31

41

51

52

53

42

31

5 35

25

15

14

13

24

35

& 44 œ ˙ ..˙ œ ˙ ..˙ œ ˙ ˙ ˙ ˙ ˙ ..˙ œ œ ˙ ..˙

? 44 œ ˙ ..˙ œ ˙ ..˙ œ ˙ ˙ ˙ ˙ ˙ ..˙ œ œ ˙ ..˙

& {1. 2.

1 31

3 53

31

42

53

U i thH b k

To help you get started, some of the easiest

four-part hymns in the standard hymnbook are

PLAYING FOUR-PART HYMNS





Using theHymnbook Playing four-part hymns from the hymn-

book is the next step in becoming a Church

accompanist. The transition from three-part

to four-part hymns should not be too difficult,

though it will require a lot of patience and

practice.

When learning a new hymn, follow the

study techniques you have learned in this

course. First, study the music, looking for

unusual or difficult rhythms. Say or clap the

rhythms until you know them well. Learn

one hand at a time, marking the fingering

on the page for complicated passages. Play slowly at first and speed up the tempo a little

each day until it fits the mood of the hymn.

listed below:

“Now Let Us Rejoice” (no. 3)

“Redeemer of Israel” (no. 6)

“We Thank Thee, O God, for a Prophet”

(no. 19)

“Come, Follow Me” (no. 116)

“How Gentle God’s Commands” (no. 125)

“Sweet Hour of Prayer” (no. 142)

“Let the Holy Spirit Guide” (no. 143)

“Sweet Is the Work” (no. 147)

“God Be with You Till We Meet Again”

(no. 152)

“I Stand All Amazed” (no. 193)

“Do What Is Right” (no. 237)

“Keep the Commandments” (no. 303)

“Teach Me to Walk in the Light” (no. 304)

The hymnbook provides many important resources that you should

become familiar with. A few of these are listed below and referenced by

number in the hymn to the right

Sweet Is the Wo

Sweet is the work my God my1

9

& # 34 œ œ œ œ œ œ ˙ ˙ œ œ ˙ ˙ # œ œ = 84-96Fervently q

3 4

8765

1

[

Hymnbook Resources



number in the hymn to the right.

1. The title of the hymn.

2. The hymn number. It is correct to refer to hymn numbers rather

than page numbers.

3. The mood marking, suggesting the general feeling of the hymn.

4. The tempo marking, suggesting a general tempo (rate of beats per

minute) for the hymn. Here, q=84–96 tells us that 84 to 96 quarternotes can be played in sixty seconds, or about three quarter notes

every two seconds.

5. The treble clef sign ( & ) and the bass clef sign ( ? ). These are

placed on five-line staffs.

6. The key signature, showing what key the hymn is written in.

This tells how many sharps or flats the hymn has.

7. The time signature (see p. 13).

8. Introduction brackets, showing a suitable piano or organ introduction.

9. The hymn text. There are six verses (or stanzas) in this text.

10. Additional verses of the text. You are encouraged to include these

when you sing the hymns.

11. The author of the text.

12. The composer or music source.

13 Suggested scriptures that may be cross referenced with the hymns

& # ˙ ˙ œ œ ˙ ˙ œ œ ˙ ..˙ œ œ name, give thanks and sing, To

care shall seize my breast. O

works and bless his word. Th

name through end - less days, W

]

? # ˙ ˙ œ œ ˙ œ œ ˙ ..˙ œ œ ˙

Sweet is the work, my God, mySweet is the day of sa - cred

My heart shall tri - umph in my

But, oh, what tri - umph shall I

1.2.

3.

4.

? # 34 œ œ œ œ œ œ ˙ ˙ œ œ ˙ œ œ ˙

& # œ œ œ œ ˙ ..˙ œ œ œ œ œ œ ˙ ˙ ˙ morn - ing light, And talk of all

tune be found, Like Da - vid’s harp

bright they shine! Howdeep thy coun -

joy I see Thy face in full

?# œ œ œ ˙ . œ œ œ ˙

8

8

5

DAILY EXERCISESThe following exercises will prepare you to play hymns from Hymns Made

Easy, Hymns: Simplified Accompaniments, and the standard hymnbook.

61 Play the following exercises slowly at first;

you are able. Always play smoothly and evenly.

Right hand





& 44 w œ œ œ œ w œ œ œ œ w w œ œ œ œ œ œ œ œ w œ œ œ œ w w œ œ œ œ w 1 2 3 2 1

5 4 3 4 5 5

& œ œ œ œ w w œ œ œ œ w œ œ œ œ w www w œ œ œ œ w œ œ œ œ w w 1

5

? 44 w œ œ œ œ w œ œ œ œ w w œ œ œ œ œ œ œ œ w œ œ œ œ w w œ œ œ œ w 1 2 3 2 1

5 4 3 4 5 5

1

?1

11

Right hand

Left hand

62 Play the following exercises slowly at first; then increase the speed

as you are able. Always play smoothly and evenly.

Right hand





& 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙̇

& 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙̇

? 34 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙̇

?

51

42

31

51

31

42

51

31

15

24

13

15

Right hand

Left hand

63 Play the following exercises slowly at first; then increase the speed

as you are able. Always play smoothly and evenly.

Right hand





& 44 œ œ j œ œ œ œ œ œ œ œ œ ..œ œ œ j œ œ œ œ œ œ œ œ œ ..œ œ œ j œ œ œ œ œ œ œ œ œ ..œ œ œ j œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ ..œ œ œ j œ œ œ œ œ œ œ œ œ ..œ œ œ j œ œ œ œ œ œ œ œ œ ..œ œ œ j œ œ œ œ œ œ œ œ œ ..œ œ œ j œ œ œ œ œœ

? 44 œ œ J œ œ œ œ œ œ œ œ œ ..œ œ œ J œ œ œ œ œ œ œ œ œ ..œ œ œ J œ œ œ œ œ œ œ œ œ ..œ œ œ J œ œ œ œ œ œ œ œ

? J J

21

31

42

53

42

31

21

31

31

42

31

12

13

24

35

24

13

12

13

13

24

13

Right hand

Left hand

64 Play the following exercises slowly at first; then increase the speed as you are able. Always play smoothly and evenly.

& 34 œ œ œ œ

˙ . œ œ œ œ œ ˙ ..˙ œ œ œ œ œ œ ˙ ..˙ œ œ œ œ

52

41

31

ßÍ





œ œ .˙ œ ? 34 ˙ . ˙ . ˙ . ˙ . ˙ . ˙ . ˙ .

&œ œ

œ œ

œ œ ˙ .

.˙ œ œ

œ œ

œ œ

˙ ..˙

œ œ

œ œ

œ œ

˙ ..˙

œ œ

œ œ ? ˙ . ˙ . ˙ . ˙ . ˙ . ˙ . ˙ .

& ˙ . ˙ . ˙ . ˙ . ˙ . ˙ . ˙ .? œ œ œ œ œ œ ˙ ..˙ œ œ œ œ œ œ ˙ ..˙ œ œ œ œ œ œ ˙ ..˙ œ œ œ œ

&

25

14

13

14

31

41

52

41

Í

ßÍ

ßÍ

ß

SECTION 5

Guidelines for Teachers p. 122

Keyboard Skills p. 129

Chording p. 129



g p

Fingering p. 133

Learning to Play an Organ

or Electronic Keyboard p. 134

Glossary of Musical Terms p. 142

Certificate of Achievement p. 155

Handy Helps inside back cover

The goal of the Basic Music Course is two-

fold. First, it helps students learn the basic skills

of musicianship. Second, it prepares them to

Every person who completes the course

should be willing to teach it to others. If all

students will become teachers of the course,

HOW TO

BASIC MU

GUIDELINES FOR TEACHERS



p , p p

teach these skills to others. Students can use

the manual and materials to teach themselves,

but they usually progress more quickly when a

teacher demonstrates techniques, answers

questions, and offers encouragement.

,

soon there will be many talented musicians able

to serve in the home, Church, and community.

These guidelines explain how to set up Basic

Music Course programs. They also provide

materials to help teachers present the course

to individual students or in a classroom.

BASIC MUPROGRAMIn Stakes

The Basic Music

the stake, ward, or

of stake priesthood

Organization for St

The stake music ch

teach the course or

Members of the sta

representatives who

course to ward mem

In Wards and B

The ward or bra

make sure intereste

music training. Und

the ward music cha

teach the Basic Mu

do so.

In Developing A

In developing ar

unit could sponsor

Stake Presidency

Stake Music Adviser (Member of High Council) Stake Music Chairman

Ward Music Chairman

Bishopric

Ward Music Adviser (Member of Bishopric)

Students of Basic Music Course

Teacher of Basic Music Course

MUSIC ORGANIZATION FOR STAKES AND WARDS









11. Whena student has learned toplaya hymn,

havehim or her play itwhile another student

conducts. Keyboard students must learn

to follow a conductor.

12. You may want to schedule small recitals or

master classes every month or two to givestudents the experience of performing in



p p g

front of each other. Schedule larger recitals

every four to six months for students to

perform for family and friends. Let the stu-

dents choose their favorite hymns to talk

about and perform. Make the recital a fun

and rewarding experience.

13. When students are ready, arrange with

your priesthood leader to allow them to

accompany the hymns at a youth meet-

ing, priesthood meeting, or fireside. Make

these arrangements far in advance so the

students can be well practiced. A success-

ful experience playing in such a meeting

can boost confidence.

BASIC MUSIC COURSELESSON OUTLINEDate to be taught: _____________________________________

❑ Conducting Course ❑ Keyboard Course

Lesson: _____ Pages to be covered: ______________________

A

BASIC MUSIC COURSELESSON OUTLINEDate to be taught: __________________

❑ Conducting Course ❑ Keybo

Lesson: _____ Pages to be covered: __

A



A. __________________________________________________

__________________________________________________

B. __________________________________________________

__________________________________________________

C. __________________________________________________

__________________________________________________

D. __________________________________________________

__________________________________________________

E. __________________________________________________

__________________________________________________

F. __________________________________________________

__________________________________________________

G. __________________________________________________

__________________________________________________

Special activities:

Illustrations and other materials needed:

A. ______________________________

_______________________________

B. ______________________________

_______________________________

C. ______________________________

_______________________________

D. ______________________________

_______________________________

E. ______________________________

_______________________________

F. ______________________________

_______________________________

G. ______________________________

_______________________________

Special activities:

Illustrations and other materials needed

ChordingThe word chord means any set of three or more music notes played at the Many songbooks, including Hymns Made Ea

KEYBOARD SKILLS



same time. Chording is a method of playing songs and hymns that simplifies

the music so the right hand plays only the melody and the left hand plays

simple, sustained chords. Chording is particularly easy on some electronic

keyboards that have automatic chording.

The same excerpt written in chording style looks like this:

Accompaniments, are suited to the chording sty

chording symbols written above the treble clef, a

C G C G C

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ There is an hour of peace and rest, Un - marred by earth - ly

? 44 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ßÍ

7

2

3

[

31

31

C G C G C

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ There is an of peace and Un - marred by earth - ly

?

7

ßÍ hour rest,

READING CHORDSYMBOLS

In chording style, chord symbols above the

melody line designate which notes you play.

Generally each symbol stands for a three-note

chord called a triad. The three notes of a triad

make harmony when they are played together

Playing some triads in these other positions

makes it possible for the hand to move more

easily to other triads.

Practice playing the following triads in their

various positions.

C



make harmony when they are played together.

One or two notes of a triad can be raised or

lowered to make the harmony sound better

with the melody. Sometimes a fourth note is

added to the triad to alter its sound. Usually

three or more different triads with their alter-

ations are used in a hymn.Each triad and alteration has a name.

A triad gets its name from its bottom note,

which is called the root. (The naming of these

chords is further explained in the following

section, “Using the Chord Chart.”) When a

triad looks like the one below, with the root

on the bottom, it is in root position.

As shown below, the notes of the triad can

be stacked in other ways with the root in the

middle or top position. Whatever position the

root is in, the chord symbol stays the same.

& w w w ➡root

? w w w w w w w w w w w w

? w w w w w w w w w F

?w w w

w w w w w w G

USING THECHORD CHART

The chord chart below will help you learn

chords and chord symbols. Find the line on

the chart that has the same key signature as

the hymn you want to play. The chords used

most often in that key signature are listed on

A small m in a chord symbol stands for

minor and means that the middle note of the

triad should be lowered. A lowered note is

shown on the chord chart as either a flat (if

the original note was a natural) or a natural

(if the original note was sharped).

When a chord symbol has a small 7 next to

than root or basic p

are shown on the c

When dim is par

middle and top not

one half-step each.

for diminished.)

&



most often in that key signature are listed on

the chart. If a hymn lists a chord that is not on

the chart, you can find it in the chord chart on

page 86 of Hymns Made Easy.

it, a fourth note is added to the triad. “Seventh

chords” are easier to play if you leave out one

of the triad notes and play it in a position other

C F G G Dm D Am

? w w w w w w w w w w w w w w w # w w w 7Key of C

F B C C Gm G Dm

?b w w w w w w w w w w w w w w w n w w w w w w 7 7bKey of F

G C D A m A Em

?7Key of G

w w w 7

D7

& w w w C

This hymn is written in chord style.



Redeemer of Israel

ßC C F C G C

&

7





ßÍ

ß

Í

ßÍ

& 44 œ œ œ œ œ œ œ œ ˙ œ œ ˙ .Re - deem - er of Is - rael, Our on - ly de - light,

? 44 Œ w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ̇ w w w 13

5

12

5

12

5

C G D G C C

& ˙ œ œ œ œ œ œ ˙ . œ ˙ œ œ œ ˙ whom for a bless - ing we call, Our shad - ow by day

? w w w ˙ ˙ ˙ # ˙ ˙ ˙ ˙ ˙ ˙ w w w w w w

7

134

135

135

F G C C C G C

&

j pil - lar by night, Our King, our De - liv - ’rer, our all!

7

w ˙



Playing an organ or electronic keyboard

is much like playing the piano. However, some

additional skills are needed to play an organ

or electronic keyboard well. These include

Learning to Play an Organ or Electronic Key



y

(1) keyboard skills, (2) pedal skills, and (3)

organ registration skills.

PLAYING THEORGAN KEYBOARD

Achieving a Smooth Style (Legato)

Playing an organ requires special keyboard

skills because it produces sound differently

than a piano. When you play a piano key, the

note sounds, immediately gets softer, and

continues for a few seconds after you release

the key. When you play an organ key, the note

remains at the same loudness until you releasethe key, which stops the sound immediately.

To achieve an organ sound that is smooth

and clear rather than choppy or muddy, you

need to depress each key firmly and release it

at exactly the same time you play the next key.

Some skills that will help you do this include

(1) finger substitution, (2) finger crossing, and(3) glissando Use any combination of these

1. Finger Substitution. If a finger that is already

playing a key is needed to play another one,

move a second finger to the key, then move

the first finger to the key it needs to playnext.

Play the following exercises with each hand,

replacing the second finger with the third

finger without releasing the key.Thenplay

theexercisesusingother finger substitutions.

Right hand:

Left hand:

Practice glissand

exercises. Place

andslide your ha

sothe tipof your

ner of the black

key. Play the exe

Right hand:

&

?

& œ œ œ œ œ œ œ œ œ œ 2 34 5

to4 52 3

to4 32 1

to4 32 1

to4 32 1

to



g g

Replace 3 with 4,then 4 with 5, and so on.

Right hand:

Left hand:

When playing chords, you may need to

2. Finger Crossing. To play a neighboring key,

instead of substituting fingers it is often

better to cross a longer finger over a shorter

one or a shorter finger under a longer one.

Play the followingexercises,crossing the first

and second fingers as shown. Then play the

exercises using other finger crossings.

Right hand:

Left hand:

Left hand:

Thumb glissando

fingeris needed.

thumb as if they

Play the following

and tip (T) of you

Right thumb:

Left thumb:

& œ œ 1 — 1 —

T B-T

? # œ 4 —

& b œ œ—2 2

21 1 2 1 2 1

?œ œ œ

œ œ œ œ œ œ 21 1 2 1 2 1œ

? œ œ œ œ œ œ œ œ œ œ 2 34 5

to4 32 1

to2 14 3

to2 34 5

to2 34 5

to

? œ œ œ œ œ ? œ œ œ œ 3-2 3-2 3-2 3-2 3-2-3

2-3 2-3 2-3 2-3

& œ œ œ œ 2-3 2-3 2-3 2-3

& œ œ œ œ œ 2-3-2 3-2 3-2 3-2 3-2



Marking Pedal Notes

Marking pedal notes in your music should make it easier to play them.

Mark notes to be played by the toe with ^ and those to be played with the

heel with o. Mark underneath a note if the left foo

marked bass note in the following illustration) an

note if the right foot will play it (see the second m

I Know ThatMy Redeemer Lives



My Redeemer Lives

Íß

Íß

ß &7

& b ˙ . œ œ œ . œ j œ œ œ œ ˙ . œ œ œ . œ j œ œ œ œ ˙ .? b ˙ ..˙ Œ ˙ ˙ ˙ ˙ ˙ ..˙ Œ ˙ ˙ ˙ ˙ ..˙ ^

^

^

^ ^

^

^ ^ ^

& b44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ j œ

? b 44 Œ w w ˙ ..˙ Œ w w ˙ ..˙ Œ ˙ ..˙

U

u u

Uq

^ ^

Peacefully = 72–84

I know 25

that my Re - deem - er lives. What com - fort this sweet sen - tence gives! He lives, he lives

C 7 F C7 F C7

F C 7 F C7 F

dead. He lives, my

4

ev - er - liv - ing Head.

1 2 5

lives25

2

to bless me with his love.

BC F C7F

b

He

1

2

Practicing Pedal Techniques

Listed below are ten techniques for playing the pedals. Use these as guidelines when marking pedal notes in your music. Practic

each technique.

1. Use the toe as often as possible; use the heel to move smoothly from one note to another with the same foot.

? ^

^

^

^ ^

^ ^

^ ^

^ ^

^ ^ ^

^ ^

^



2. To play two black pedals that are next to each other, slide your toe from one pedal to the other with a pivoting motion similar

3. Use the toe on black pedals and the heel (of the same foot) on white pedals if they are next to each other.

4. Alternate your toe and heel on adjacent white pedals.

? 34 œ œ œ œ œ œ œ œ œ ˙ . œ œ œ œ œ œ œ œ ^ ^ ^ ^ ^ ^ ^ ^ ^

? 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ^ ^ ^ ^

^ ^ ^

o ooo oo? 44 b œ b œ b œ b œ b œ b œ b ̇ b œ b œ b œ b œ b œ b œ ^ ^ ^ ^ ^ ^ ^

^ ^ ^ ^ ^ ^

— — — — —

— — — — —

—

? 44 œ b œ n œ b œ n œ b œ œ b œ w œ b œ n œ œ n œ b œ œ b œ ^ ^ ^ ^

^ ^ ^ ^ o o o o o ooo b o?

˙ . ^ ^ ^ ^

^ ^ ^

6. Try to play skips of less than two notes with the toe and heel of the same foot.

7. Alternate your feet for skips of more than two notes.

? 44 œ œ œ œ œ œ ˙ œ œ œ œ œ œ ^ ^ ^

^ ^ ^

o o o o

^



8. Substitute one foot for another on a note that is repeated or held if you need to prepare for a wide skip. The principle of foot

finger substitution. The foot that substitutes can come under or over the first foot, depending on which is more comfortable.

9. Substitute with the same foot by replacing the toe with the heel or the heel with the toe.

10. Cross your feet if necessary when playing several adjacent notes in the same direction. When playing white pedals,the right fo

left foot, and the left foot often crosses under the right foot. Whenplayingblackpedals,one foot usually crosses under the ot

o o o? 34 ˙ œ ˙ œ ˙ œ ˙ . ˙ . ˙ œ ˙ œ ˙ œ ˙ . ^ ^ ^ ^ ^ ^ ^

^ ^ ^ ^ ^ ^ ^ ^

? 34 œ ˙ œ ˙ œ ˙ ˙ . œ ˙ œ ˙ œ ˙ ^ ^ ^ ^ ^ ^ ^ ^

^ ^ ^ ^

^ ^ ^ ^

? 22 ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ^ o ^ -o ^ -o ^ -o ^ -o ^ -o ^ -o ^ -o ^ -o ^ -o ^ -o ^ -o(cross left foot under right) ( cross right foot over left)





A cappella

To perform a choral piece without

instrumental accompaniment.

Accelerando, accel.

Adagio

See Tempo markings.

Alla breve

To perform $ music briskly, treating the

A tempo

To return to the

speed. This markinrit. (ritardando, or g

(accelerando or gr

GLOSSARY OF MUSICAL TERMS



To quicken the tempo gradually.

Accent

To emphasize one note or one chord by

playing it louder or slightly longer.

Accidentals

Signs that alter musical notes as follows:

b flat: lowers a note by one half step# sharp: raises a note by one half step

n natural: cancels a flat or sharp

Accidentals remain in effect throughout the

remainder of the measure in which they occur,

though they may be written only once. A

barline cancels the accidentals from the

previous measure.

Accompaniment

The musical background that accom-

half note rather than the quarter note as the

fundamental beat. Also known as cut time.

Allargando

To broaden (slow) the tempo and increase

the volume.

Allegretto

See Tempo markings.

Allegro

See Tempo markings.

Alto

The lower vocal line in the treble clef.

See also Vocal ranges.

Andante

See Tempo markings.

Anthem

A musical composition written for choirs.

(accelerando, or gr

line of “Count Your

241). A tempo can

music that is marke

tempo marking at t

Sometimes this is a

Barlines

Vertical lines tha

Bass

The lower vocal

See also Vocal rang

Bass staff

The staff marked

?

barlin

measure

C >

œ œ >



Clef

A symbol at the beginning of a staff that

indicates the pitches of the staff.

Couplers

Organ stops that do not produce a sound

of their own but link various organ sounds

together.

Crescendo, cresc.

To sing or play gradually louder.

Diapason

The stop on the

for accompanying

the fullest sound on

the foundation for o

term for diapason

Diminuendo, dim.

The same as de

The G clef or treble clef curls

around G above middle C.

The F clef or bass clef centers

on F below middle C.?&



Common notes

Notes repeated in a different part. For

example, if the tenorssing middleC inonechord and in the nextchord the altos sing that

samenote, it would be a common note.

Common time

A synonym for $ time.

Conductor

Cue notes

Small notes in the hymns that are optional.

To learn how these notes may be used, see

“Cue Notes,” Hymns, p. 386.

Cut time See Alla breve.

Da capo, D.C.

To repeat the piece of music from the

beginning. D.C. al fine means to repeat the

piece from the beginning to the place marked

fine (the end).

Dal segno, D.S.To repeat the piece of music from the place

marked with the sign . D.S. al fine means to

repeat from the sign to the place marked

fine (the end).

Damper pedal

The sustaining pedal.

Decrescendo

Dolce

To sing or play s

Dotted note

When a note ha

adds one-half the vThus, in $ time a d

gets 1A beats inste

half note (h . ) gets 3

When a note ha

it is played staccato

Double bar

Two closely spac

the end of a section

barline is thicker th&c

& ˙ ˙ ˙ ˙

? ˙ ˙ ˙ ˙

See Tenor clef.

&B

% %





Key

The tonal center of a piece of music. Each

key name is the same name as the home note

or home chord.

Every traditional piece of music has a tone

that is the basis for all its harmonic progression.

For example, a hymn composed in the key of

C will usually begin and end with a C chord.

Although the harmony may move away from

Largo

See Tempo markings.

Legato

Play or sing smoothly, connecting the notes

in a flowing style without breaks or spaces.

Ledger linesShort lines that represent lines and spaces

above or below the limits of the staff.

Major and minor

Two general type

chords. Major keys

and usually have an

Minor keys are base

usually sound more

See also Scale.

Manuals

On the organ th



Although the harmony may move away from

C during the hymn, it will always return to the

C chord because it is the home chord.

The key of a hymn can be determined two

ways. The first is to examine the key signature.

Learning how many sharps or flats each key

has will help you discover the key of the hymn.

See also Key signature and Circle of fifths.

The second way to determine the key of a

hymn is to look at the last note of the hymn in

the bass voice. If that ending note is a C, then

the hymn is probably written in the key of C.

Key signature

The sharps or flats found between the clef

and the time signature at the beginning of a

piece of music. The key signature tells the key

of the piece.

Ledger lines are used to extend the treble

staff below middle C and the bass staff above

middle C. To name the note, count above orbelow the middle C line, counting each line

and space. See the examples above.

Ledger lines are also used to extend above

the treble staff and below the bass staff.

Lento

See Tempo markings.

L

On the organ, th

hands. Each keybo

pipes or ranks. See

Swell keyboard.

Marcato

Playing a note w

emphasis than an a

Marcato is indicate

below a note:

MeasuresSmall divisions i

sures are indicated

the number of beat

time signature. For

in $ time has four b

&

ßÍ? œ œ œ œ œ œ & œ œ œ

œ œ œ C

C

CDE

C D E

A B

B A

ß &key signature ➞









Tempo markings

Words that set the tempo for a musical

piece. These words are often in Italian and are

used in most music other than the Church

hymnbook. Arranged from slowest to fastest,

the common tempo markings are listed below:

Largo—broad

Lento—slow

Ad i t ( l )

Tie

A short, curved line connecting two notes

of the same pitch. The first note is played or

sung and is held for the duration of both notes

combined. is held for two beats; is

held for three.

Time signature

Tone

A musical sound

Transpose

To change a pie

than the one in whi

all the notes up or d

of half steps. Some

on sight, while othe

transposition. One

œ ˙ œ ˙ œ œ



Adagio—at ease (slow)

Andante—a walking pace

Moderato—moderate

Allegretto, Allegro—fast

Vivace—lively

Presto—very fast

Prestissimo—as fast as possible

Tempo I

See A tempo.

Tenor

The highest vocal line in the bass clef. See also Vocal ranges.

Tenor clef

Used in hymn arrangements for men’s

voices. The notes in the tenor staff are played

or sung as if they were treble clef notes, but

they are played or sung an octave lower than

the treble staff. “Rise Up, O Men of God”

Time signature

A symbol made of two numbers, one above

the other, found at the beginning of a piece

of music, which shows the meter for the piece.

The bottom number shows which note is the

fundamental beat (the note that gets one beat),and the top number shows how many of these

fundamental beats occur in one measure.

p

piece might be to p

key to better suit a

Treble staff

The staff marked

The treble staff is foplayed by the right

See also Clef.

Tremolo, Tremulan

An organ stop th

vibrate. This stop is

prelude music.

&22344424

2 beats per measure

2 beats per measure

3 beats per measure

4 beats per measure

6 beats per measure

TimeSignature Fundamental Beat

half note (

h)

eighth note (e )

quarter note (q )

quarter note (q )quarter note (q )

Number of Beats per Measure

Triad

A chord of three notes comprising an

interval of a third and an interval of a fifth.

The three notes of a triad are called the

root, 3rd, and 5th.

The three notes of a triad may be used in

Upbeat

The last beat of a measure, signaled in

conducting by an upward motion of the arm.

Also, one or more notes at the end of a

measure that function as the beginning of

a hymn or phrase. (For more information,

see Conducting Course, p. 28.)

Value

The number of beats a note gets in a

The staves below

each voice should b

much strain.

& œ

&

soprano

w w w 3rd 5th



The three notes of a triad may be used in

any order; any combination of C’s, E’s, and

G’s will always be a C chord.

Trio

A piece written for three performers.

Triplet

A group of three notes performed in the

time of one, two, or four beats. The triplet

shown here equals the time value of one

quarter note. To count this example, say

“one, two, trip-a-let, four.”

Unison

When people sing in unison they all sing the

melody line or tune only. Singing in unison can

be on the same pitch, as when women sing, or

an octave apart as when men and women singh U i i i i ll

measure.

Verse

See Stanza.

Vibrato

See Tremolo.

Vivace

See Tempo markings.

Vivo

Lively.

Vocal ranges

The four main vocal ranges in hymn andchoral singing: soprano (high women’s voices),

alto (low women’s voices), tenor (high men’s

voices), and bass (low men’s voices).

Whole Step An interval of tw

& œ

? b œ ? œ

bass: G

tenor: B

alto: G–

soprano

alto&# ˙ 3 ➞

➞

44 œ œœœ œ £œ &



T his is to certify that

CERTIFICATE OF ACHIEVEMENT

B A S I C M U S I C C O U R S



has completed the K eyboard C ourse

Date Teacher









NOTES

Note Note name

q quarter note

h half note

h. dotted half nw whole note

e

HANDY HELPS

?ßÍ G A B C D E F G A B C D E F G A B C D E F&

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙

GRAND STAFF



e eighth note

x sixteenth not

RESTSRest Rest name∑

whole rest

Ó half rest

Œ quarter rest

‰ eighth rest

ACCIDENTALS# sharp (goes

b flat (goes do

natural (canc

F G A B C D E F G A B C D E F G A B C D E F G A B Middle

˙ ˙

1

2

3

4

5

1

2

3

4

5

FINGER NUMBERS

Left hand Right hand



33620

4 02336 20000 8

ENGLISH

Documents

KeyboardCourse 33620 Eng